Number 1: “Young Folks” in Gossip Girl
Peter Bjorn and John’s hit song has defined the way that we think about Gossip Girl. Speaking from experience, it is nearly impossible to scroll through Gossip Girl edits without stumbling upon “Young Folks.”
But why feature this piece in the opening scene of the show? First, let’s look at the gameplan music supervisor Jessica Flint had for Gossip Girl’s soundtrack. In an interview with Vanity Fair, Flint asserted that the show’s “musical soup,” being a fusion of indie, pop, and New York-based bands, “gives the show its style.” Considering Flint’s focus on creating a unique Gossip Girl aesthetic, “Young Folks” makes sense as the opening song. This is a piece about freedom from the past and the self-definition that comes along with it. Carefree whistling permeates the youthful lyrics, foreshadowing the role young characters will play in expanding each others’ freedom and defining the plot of Gossip Girl. Many favorites in the show reject the norms placed upon them, morphing themselves into the tragic stars and empowering figures we love today.
Number 2: “Dreams” in Derry Girls
Being set during the Troubles, Derry Girls would have made a mistake in not featuring the Cranberries, a band that infused the ’90s grunge era with its Irish roots. While this song plays several times throughout the show, one of my favorite scenes with “Dreams” is when the camera cuts from our beloved group smiling on stage to moments of the war. Just like the singer in “Dreams,” these teenagers are reconciling their hopes for the future with their ever-changing present. Singer Delores O’Riordan, with her dynamic voice of confession, searches for freedom. Her volume and tone rise and fall with changes in focus, reflecting the volatile environment of the Troubles. Even though Dreams and Derry Girls are associated with the ’90s, their vulnerable responses to their environments are timeless.
Number 3: “These Days” in The Royal Tenenbaums
Nico’s “These Days” is perfect for Margot Tenenbaum. She seems to be in a valley part of her life, sadly stagnant with no plan on how to proceed. And despite maintaining secrecy, Margot holds so much unhappiness. Nico also restrains her emotions in “These Days.” 1960s consumers were not yet ready for the angst that comes with a father’s death in WWII, so Nico hides the rawness of her mourning and uncertainty through the soft sound expected of her. Today, social media has reinvigorated the popularity of Nico’s song, as people of all ages yearn for acceptance and a certain future.
Number 4: “Windmills” in Tenet
Composer of the Black Panther, Mandalorian, and Oppenheimer soundtracks, Ludwig Göransson had what it took to churn out this stunning piece of adventure. “Windmills” plays when The Protagonist ventures out amongst literal oceanic windmills, on his way to fulfill his thrilling mission. As we see the beginning of The Protagonist’s journey, we feel his conflicting expectancy and uncertainty through the song. Göransson conveys these emotions most through the intermittent soft percussion beat that powers the song from the sidelines, evoking images of horses and swift movement through its rhythm. Göransson never fails to provide suspense.
Number 5: “Just Like Honey” in Lost in Translation
“Just Like Honey” can cap off the end of this article because it is one of my favorite ending songs for a movie. This track beautifully summarizes Sophia Coppola’s goal for Lost in Translation. She wanted to represent “connections where you can’t be together for various reasons because you’re at different points in life,” regardless of what those points are. “Just Like Honey” echoes this idea: “Walking back to you / is the hardest thing / I can do for you.” In a “right person, wrong time” relationship, accepting closure can often be the most difficult part. Coppola perfectly exhibits this struggle by pairing “Just Like Honey” with Lost in Translation’s goodbye scene. And now, it’s time to say goodbye to this article.
